Below I have taken out the important parts but I would recommend reading the guide completely, as with all of your courses, over the summer.
Summary of the Course Outline above:
So basically the way the course is broken up and graded is that there is the
External Assessment (50%)- which has two parts 25% parts: 1. (25%) Independent Study which is where you write a documentary script about four films you have studied 2. (25%) Presentation which is where you choose a clip from a movie, and use your textual analysis skills to talk for 15 minutes about the 5 minute clip, why it is important and how it relates to the rest of the movie and how you can see elements of this clip in other parts of the movie (lighting, sound, color, etc.) and then there is the
Internal Assessment (50)%- which really has five parts that are 10% each. They are all connected to the different aspects of making your movie. These assessment criteria are used to assess the different elements of the production portfolio, as shown in the table below.
Criterion A 10%
Planning and research
Criterion B 10%
Reflection and evaluation
Criterion C 10%
Professional and technical skills
Criterion D 10%
Effective use of film language
Criterion E 10%
Originality and creativity
These are all described in more detail in the section on the Internal Assessment farther down the page.
But that's the whole course! However, if you would like more detail, check out each section below. It is extremely important that you are familiar with assessment details so you know how you will be graded and you don't leave stuff out.
Section 1
External assessment details—HL
Independent study (Part 1 of the External Assessment) Weighting: 25%
Independent Study: This component is based on part 2 of the course (film theory and history), but also draws to some extent on part 1 (textual analysis). The aim of the independent study is to encourage students to engage in some depth with a cinematic tradition that is unfamiliar to their own culture.
Students must produce a script for a complete short documentary production exploring an aspect of film theory or film history, based on the study of films from more than one country. The documentary should be targeted at an audience of film students in the 14 to 18 years age range. Among the topics students may choose to investigate are:
genre
theme
direction
use of sound
color
editing
lighting
The topic should be discussed primarily in cinematic terms. The prime voice of the documentary must clearly be that of the student, who will also act as the narrator, on- screen host and/or voice-over. Students must ensure that any comments or ideas they attribute to celebrities or others, such as experts, are fully supported by detailed references in the annotated list of sources. Students at HL must make reference to a minimum of four films in their independent study. The chosen films must originate from more than one country. At the HL level, comparisons between the films should be made.
The independent study must be presented in the form of a written dossier composed of the following three items:
Rationale
Script
Annotated list of sources
The rationale must offer a brief, reasoned explanation of the concerns of the topic in no more than 100 words.
The script must clearly indicate the relationship between the audio and visual elements of the documentary, employing an established documentary format such as “side-by-side” columns for video and audio components.
All descriptions of video and audio elements must be both detailed and specific. Scripts must be 12–15 pages long at HL, using an accepted size of paper (for example, A4 or US letter) and must use 12-point Courier font (not in block capitals) and single spacing. It is important that the student treats a topic of film history or film theory in cinematic rather than literary terms.
The annotated list of sources should refer to all materials used in researching the topic and all materials used in the documentary itself, including films from which extracts will be shown and quotations from experts or academics. Annotations should give the source and/or location of the reference. A comment on the relevance of the source must be included.
Assessment of this component is based solely on the written script and the rationale. Actual films or film sequences are not acceptable.
The materials produced for this component must not be submitted as part of the production portfolio. As part of the learning process, teachers can give advice to students on a first draft of the independent study. Advice on improving the work can be given, but this first draft must not be heavily annotated or edited by the teacher.
Constant drafting and redrafting is not allowed, and the next version handed to the teacher after the first draft must be the final one.
Examples of topics for the independent study
External assessment
Suggested topic
Suggested films .
Rites of passage: A study of cinematic representation of adolescence (and/or childhood)
At SL the study could be of Walkabout and Cinema Paradiso. At HL these two films could be studied in addition to Rebel Without a Cause and The Magdalene Sisters. (Other suitable films could include The Butcher Boy and Boyz n the Hood.) .
The outsider: A study of how representations
of “the outsider” are constructed, with particular reference to the films of Akira Kurosawa and their Western remakes .
At SL the study could be of The Seven Samurai and The Magnificent Seven. At HL these two films could be studied in addition to Yojimbo and A Fistful of Dollars.
Propaganda and film: A study of film as political and/or social propaganda
At SL the study could be of The Triumph of the Will and Why We Fight. At HL these two films could be studied in addition to Battleship Potemkin and Fires Were Started. .
Images of horror: A study of the development of horror films through cinematic techniques (or their reflections of cultural fears)
At SL the study could be of Nosferatu and Mary Shelley’s Frankenstein. At HL these two films could be studied in addition to King Kong and Gojira (Godzilla).
Grade Level Descriptor Rubric
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=
Section 2
External Assessment details:
Presentation (Part 2 of the External Assessment)
Weighting: 25%
Presentation: In this component, the student is required to make an oral presentation to the teacher of an analysis of an extract lasting no more than five minutes from a prescribed film. The list of films prescribed by the IB is published each year in the November edition of the Diploma Programme coordinator notes, and can also be found on the OCC. It is not carried over from year to year.
Teachers choose three films from the prescribed list. These films must not be studied in class. Should any of the films on the list have already been studied in class when the list is published, these films must not be chosen by the teacher for any of the presentations.
Students should be provided with the names of the three chosen films four weeks in advance of the presentation. They will select one film from the three and prepare their presentation within this four-week period.
The aim of the presentation is to encourage a close textual analysis of a continuous extract, relating its features to the film as a whole and to the wider sociocultural context. Students must present a clear understanding of how meaning is constructed through the use of film language. Students may prepare and take notes into the assessment, but they should not read from a prepared document and any notes should be used for reference and guidance only. It is the teacher’s responsibility to ensure that students do not read out their presentation.
Students should select an extract lasting no more than five minutes from their chosen film and offer a detailed textual analysis of the extract, placing it in the context of the film as a whole and in a broader sociocultural context, as appropriate. Students should include reasons for choosing the particular extract. Shot-by-shot analysis may form part of the presentation, but this should not be used as a substitute for observations that are drawn together from different parts of the chosen extract.
Any sources consulted during the preparation of the presentation must be acknowledged on the coversheet. The following must be adhered to in preparing and submitting presentation work.
The presentation must last no longer than 15 minutes.
The presentation must be recorded on CD.
The presentation must be sent to the external examiner with the appropriate coversheet, including precise details of the chosen extract.
Playing the film extract must not occupy any of the student’s allotted 10-minute commentary time.
Teacher guidance
Students must prepare for this assessment alone and without teacher assistance. Assistance must only be provided in the form of preparing students throughout the course for this type of activity, but not for the final activity itself on which they will be assessed. No discussion of the film should be entered into. During the presentation, the teacher should not interrupt. The teacher may only remind the student of time left and ask whether they have anything further to say but they must not make reference to specifics or ask leading questions. Students should use as much of the time available as possible. Presentations that are significantly shorter than 10 minutes may be awarded a mark that does not represent the student’s full potential.
Retake students
Should a student wish to retake this examination in a subsequent session, the same film may not be used for study.
External Markbands HL
Presentation
Marks
Level descriptor
...........0............
The work does not reach a standard described by the descriptors below. .
1–5
There is little or no evaluative interpretation of the extract, displaying a very limited understanding of how meaning is constructed through the use of film language, and a very limited awareness of the extract’s relationship to the film as a whole. There is little or no explanation for the selection of the extract. The critique shows little or no awareness of the film’s genre and/or its place in a broader sociocultural context. There is little or no analysis of the director’s intention. No reference is made to the responses to the film from audiences and reviewers, critics or scholars at the time of its original release and/or subsequently. This presentation is likely to be exclusively descriptive. .
6–10
There is a limited evaluative interpretation of the extract, displaying some understanding of how meaning is constructed through the use of film language, and a limited awareness of the extract’s relationship to the film as a whole. There is a limited explanation for the selection of the extract. The critique shows some awareness of the film’s genre and/or its place in a broader sociocultural context. There is a limited analysis of the director’s intention. Limited reference is made to the responses to the film from audiences and reviewers, critics or scholars at the time of its original release and/or subsequently. A substantial amount of the presentation may have detailed descriptions, but offers only limited analysis. .
11–15
There is a coherent evaluative interpretation of the extract, displaying an adequate understanding of how meaning is constructed through the use of film language, and a satisfactory awareness of the extract’s relationship to the film as a whole. There is an adequate explanation for the selection of the extract. The critique shows a satisfactory awareness of the film’s genre and/or its place in a broader sociocultural context. There is some analysis of the director’s intention. Some apt reference is made to the responses from audiences and reviewers, critics or scholars at the time of its original release and/or subsequently. There may be some descriptive elements but the presentation offers adequate analysis. .
16–20
There is a coherent and detailed evaluative interpretation of the extract, displaying a good understanding of how meaning is constructed through the use of film language, and a good awareness of the extract’s relationship to the film as a whole. There is a clear explanation for the selection of the extract. The critique shows a good awareness of the film’s genre and/or its place in a broader sociocultural context. There is a sound analysis of the director’s intention. Clear reference is made to the responses from audiences and reviewers, critics or scholars at the time of its original release and/or subsequently. There may be brief elements of description but analysis is thorough. .
21–25
There is a coherent, incisive and richly detailed evaluative interpretation of the extract, displaying an excellent understanding of how meaning is constructed through the use of film language, with an excellent awareness of the extract’s relationship to the film as a whole. There is a persuasive explanation for the selection of the extract. The critique shows an excellent awareness of the film’s genre and/or its place in a broader sociocultural context. There is insightful analysis of the director’s intention, and examples of responses from audiences and reviewers, critics or scholars at the time of its original release and/or subsequently have been discussed. Simple description is negligible and analysis is clear and thorough. .
. . . . . . . . . . . . .
Internal assessment details—HL
Production portfolio
Weighting: 50%
The Production Portfolio component consists of a student’s completed film project and its accompanying documentation. Students submit a single production piece.
At HL, film projects must be no longer than seven minutes and no shorter than six minutes, including titles. The associated trailer must be 40–60 seconds in length.
It is important to note that each HL student must produce their own trailer, working alone and not in collaboration with others, even if they have worked with others in the production of the film.
Completed film project
Each project may be the work of an individual or of a group of students. Group size must not exceed four. However, this restriction applies only to the number of students who will be assessed on their work in the project. There may be any number of performers or assistants involved in a project.
director
writer
cinematographer
sound designer, recordist or mixer
editor
Although other functions (such as musical composition, costume design and acting) are integral to many kinds of film-making, they are more appropriately assessed in other Diploma Programme courses and therefore will not be considered suitable for film. A student may undertake more than one role in a production, and some roles may be carried out by more than one student. Nonetheless, for the purposes of assessment each student must identify their principal role to the examiner on the coversheet provided and this is the role on which they will be assessed. Two students from the same group cannot choose to be assessed in the same principal role. It is essential that teachers assess each student’s individual contribution to the finished products.
Film projects must be no longer than seven minutes and no shorter than six minutes at HL, including titles. Material can be created and edited using any available technology, but must be submitted in DVD format. Viewing copies for submission to moderation need to be in one of the approved standard formats notified to schools. Each school must choose only one such format and will be required to identify this when registering students for examinations. Every film should be preceded by a production slate (a black screen with white lettering) stating the student’s name and candidate session number, the school name and school code, the title of the film, and the student’s designated role.
The content of students’ project work must be guided by the following considerations:
The content and treatment of the films made must be appropriate for a young person no older than 15 years of age. Mature themes are acceptable but their treatment must be suitable for young teenagers. The use of strong language must be rare and fully justified by or blood. Sexual violence may only be implied and indicated without physical detail. Dangerous techniques of combat should include no imitable detail, and realistic and contemporary weapons should not be glamourized. In horror films, sustained threat and menace is permitted, but only occasional gory moments. If drug use is referred to, only brief and occasional references are permitted, and must be justified by the context and demonstrate the dangers of such behaviour. There must be no indication, in any instructional form, as to how the drugs are taken.
Teachers must use sound judgment as to how much assistance or support can be provided, remembering at all times that this is a student-oriented task. In general, teacher assistance in work intended for assessment should be confined to asking questions and making suggestions. The situation is comparable to a teacher commenting on a draft of an essay, offering pointers for ways to improve the work but refraining completely from doing any of that work for the student. Any specialist technical support must be acknowledged in the individual commentary: students must not pass off others’ work as their own.
Documentation
Each film project must be accompanied by:
an individual rationale of no more than 100 words for the film and an individual rationale for the trailer of no more than 100 words
an individual written commentary of no more than 1,750 words; the written commentary should be based on the student’s personal production journal
the student declaration form which must be signed and attached to the student’s work; the appropriate form can be found in the Handbook of procedures for the Diploma Programme
The rationale is required so that the moderator will know the intentions of the project.
The individual written commentary should be the student’s own unaided work. It should give a concise, reflective account of all stages of the production process, and should also include an evaluation of the completed project as a whole. Any special circumstances surrounding the production process should be mentioned, and any outside help received (for example, technical support) must be acknowledged. Where appropriate, students must incorporate sample production materials (for example, frames from storyboards, schedules, floor plans) into their commentary. However, such materials should not stand apart from the commentary or form an appendix.
The portfolio as a whole must reflect a clear understanding of how meaning is constructed through the appropriate use of film language.
Teachers will be asked to authenticate the production portfolios and give brief comments on each production to assist moderation. The coversheet for the portfolio must include details of the principal production role-played by the student in each project.
Copyright statement—important
Student work must not contain any third party copyright material.
The intention of the film course is that students, especially in the production portfolio component, will be the original creators of, or have a significant role in the creation of, any audio or visual material that they use in their work. Audio work may involve collaboration with local musicians or other students to help create original material for a soundtrack as part of a creative dialogue rather than merely “finding” a piece that would fit. Copyright-free software may also be used as appropriate.
Even if copyright material is legally obtained, this is a violation of the course’s intended outcomes.
Internal assessment criteria (how you will be graded)—HL
Production portfolio
A Planning and research: 10%
This criterion is concerned with the documentation of the production process as a whole, from preliminary planning, pre-production, production and principal photography, through to post-production, including the planning and research required for the production of the film trailer.
Marks
Level descriptor
............0............
The work does not reach a standard described by the descriptors below. .
1–2
There is little or no planning for and research into production processes for the film itself and the trailer. Little documentation of the relevant development stages is displayed. .
3–4
There is some planning for and research into production processes for the film itself and the trailer. Some documentation of the relevant development stages is displayed, but this documentation is likely to be incomplete, either lacking sufficient detail in parts or omitting stages in the process. .
5–6
There is adequate planning for and research into production processes for the film itself and the trailer. Documentation of the relevant development stages is satisfactory. .
7–8
There is good planning for and research into the production processes for the film itself and the trailer. Documentation of the relevant development stages is mostly thorough. .
9–10
There is excellent planning for and research into the production processes for the film itself and the trailer. Documentation of the relevant development stages is comprehensive. Planning of production and documentation has all been clearly integrated with the production of the individual film trailer.
B Reflection and evaluation 10%
This criterion is concerned with artistic and logistical analysis of the relevant production processes and the evaluation in the individual student’s written commentary on the project as a whole, including the roles of the student and others (where appropriate).
Marks
Level descriptor
........0........
The work does not reach a standard described by the descriptors below.
1–2
There is a limited artistic and logistical analysis of the relevant production processes, with little critical evaluation of the project as a whole and of the individual film trailer.
3–4
There is some artistic and logistical analysis of the relevant production processes, with some critical evaluation of the project as a whole and of the individual film trailer.
5–6
There is a satisfactory artistic and logistical analysis of the relevant production processes, with satisfactory critical evaluation of the project as a whole. There is satisfactory analysis of the different artistic and logistical processes required for the production of the trailer.
7–8
There is an effective artistic and logistical analysis of the relevant production processes, with good critical evaluation of the project as a whole. There is also an effective analysis of the different artistic and logistical processes required for the production of the trailer.
9–10
There is a highly effective artistic and logistical analysis of the relevant production processes, with excellent critical evaluation of the project as a whole. There is also a highly effective awareness and analysis of the different artistic and logistical processes required for the production of the trailer.
C Professional and technical skills 10%
This criterion is concerned with professional and technical skills (including organizational skills) that may be demonstrated during the production processes or in the finished product itself.
Marks........
Level descriptor
0
The work does not reach a standard described by the descriptors below.
1–2
The student demonstrates little or no ability in the professional and technical
skills (including organizational skills) necessary for one principal production role, and makes limited use of available resources and technology. Little use is made of available resources and technology in the construction of the individual film trailer.
3–4
The student demonstrates some ability in the professional and technical skills (including organizational skills) necessary for one principal production role, and makes some use of available resources and technology. Some use is made of available resources and technology in the construction of the individual film trailer.
5–6
The student demonstrates satisfactory ability in the professional and technical skills (including organizational skills) necessary for one principal production role, and makes competent use of available resources and technology. There is also satisfactory use made of available resources and technology in the construction of the individual film trailer.
7–8
The student demonstrates good ability in the professional and technical skills (including organizational skills) necessary for one principal production role, and makes effective use of available resources and technology. There is also effective use of available resources and technology in the construction of the individual film trailer.
9–10
The student demonstrates excellent ability in the professional and technical skills (including organizational skills) necessary for one principal production role, and makes highly effective use of available resources and technology. There is also excellent use of available resources and technology in the construction of the individual film trailer.
D Effective use of film language 10%
This criterion is concerned with evidence of the student’s effective use of film language, as seen in the finished product. Internal assessment
....Marks......
Level descriptor
0
The work does not reach a standard described by the descriptors below.
1–2
The student demonstrates little or no ability to communicate effectively in film language both in the film itself and in the individual film trailer.
3–4
The student demonstrates some ability to communicate effectively in film language both in the film itself and in the individual film trailer.
5–6
The student demonstrates a satisfactory ability to communicate effectively in film language both in the film itself and in the individual film trailer.
7–8
The student demonstrates a good ability to communicate effectively in film language both in the film itself and in the individual film trailer.
9–10
The student demonstrates an excellent ability to communicate effectively in film language both in the film itself and in the individual film trailer.
E Originality and creativity 10%
This criterion is concerned with originality and creativity in the film-making process (referred to as “creative intelligence” in the level descriptors below). This may be demonstrated by freshness of approach, by intelligent work that goes either with or against the conventions of the genre, or by problem solving. Another key indicator is the level of audience engagement with the work.
This criterion is intended to provide a holistic assessment of each student’s contribution to the finished film and of the trailer that they have made as an individual.
........Marks........
Level descriptor
0
The work does not reach a standard described by the descriptors below.
1–2
There is little or no evidence of creative intelligence in the film-making process and little or no awareness of the appropriate generic characteristics of a film trailer. The film production and trailer are of limited interest to audiences.
3–4
There is some evidence of creative intelligence in some aspects of the film-making process and some awareness of the appropriate generic characteristics of a trailer. The film production and trailer are of some interest to audiences.
5–6
There is adequate evidence of creative intelligence in most aspects of the film-making process and an adequate awareness and implementation of the appropriate generic characteristics of a film trailer. The production and trailer engage audience interest satisfactorily.
7–8
There is good evidence of creative intelligence in all aspects of the film-making process and a clear awareness of, and effective implementation of, the appropriate generic characteristics of a film trailer. The film production and trailer engage audience interest well.
9–10
There is excellent evidence of creative intelligence in all aspects of the film-making process, and there is excellent awareness of, and imaginative use of, the generic characteristics of a film trailer. The film production and trailer engage audience interest with great success.
The HL Film Assessment Page
Introduction- Outline of assessment for course
Section 1- External Assessment Part 1 Independent Study
Section 2- External Assessment Part 2 Presentation
Section 3- Internal Assessment (Production Portfolio)
Introduction
ABOVE IS THE FULL PDF OF THE IB DP FILM GUIDE.
Below I have taken out the important parts but I would recommend reading the guide completely, as with all of your courses, over the summer.Summary of the Course Outline above:
So basically the way the course is broken up and graded is that there is theExternal Assessment (50%)- which has two parts 25% parts:
1. (25%) Independent Study which is where you write a documentary script about four films you have studied
2. (25%) Presentation which is where you choose a clip from a movie, and use your textual analysis skills to talk for 15 minutes about the 5 minute clip, why it is important and how it relates to the rest of the movie and how you can see elements of this clip in other parts of the movie (lighting, sound, color, etc.)
and then there is the
Internal Assessment (50)%- which really has five parts that are 10% each. They are all connected to the different aspects of making your movie.
These assessment criteria are used to assess the different elements of the production portfolio, as shown in the table below.
But that's the whole course! However, if you would like more detail, check out each section below. It is extremely important that you are familiar with assessment details so you know how you will be graded and you don't leave stuff out.
Section 1
External assessment details—HL
Independent study (Part 1 of the External Assessment)Weighting: 25%
Independent Study: This component is based on part 2 of the course (film theory and history), but also draws to some extent on part 1 (textual analysis). The aim of the independent study is to encourage students to engage in some depth with a cinematic tradition that is unfamiliar to their own culture.
Students must produce a script for a complete short documentary production exploring an aspect of film theory or film history, based on the study of films from more than one country. The documentary should be targeted at an audience of film students in the 14 to 18 years age range. Among the topics students may choose to investigate are:
The topic should be discussed primarily in cinematic terms.
The prime voice of the documentary must clearly be that of the student, who will also act as the narrator, on- screen host and/or voice-over. Students must ensure that any comments or ideas they attribute to celebrities or others, such as experts, are fully supported by detailed references in the annotated list of sources.
Students at HL must make reference to a minimum of four films in their independent study. The chosen films must originate from more than one country. At the HL level, comparisons between the films should be made.
The independent study must be presented in the form of a written dossier composed of the following three items:
The rationale must offer a brief, reasoned explanation of the concerns of the topic in no more than 100 words.
The script must clearly indicate the relationship between the audio and visual elements of the documentary, employing an established documentary format such as “side-by-side” columns for video and audio components.
All descriptions of video and audio elements must be both detailed and specific. Scripts must be 12–15 pages long at HL, using an accepted size of paper (for example, A4 or US letter) and must use 12-point Courier font (not in block capitals) and single spacing. It is important that the student treats a topic of film history or film theory in cinematic rather than literary terms.
The annotated list of sources should refer to all materials used in researching the topic and all materials used in the documentary itself, including films from which extracts will be shown and quotations from experts or academics. Annotations should give the source and/or location of the reference. A comment on the relevance of the source must be included.
Assessment of this component is based solely on the written script and the rationale. Actual films or film sequences are not acceptable.
The materials produced for this component must not be submitted as part of the production portfolio. As part of the learning process, teachers can give advice to students on a first draft of the independent study. Advice on improving the work can be given, but this first draft must not be heavily annotated or edited by the teacher.
Constant drafting and redrafting is not allowed, and the next version handed to the teacher after the first draft must be the final one.
Examples of topics for the independent study
External assessment
.
At HL these two films could be studied in addition to Rebel Without a Cause and The Magdalene Sisters. (Other suitable films could include The Butcher Boy and Boyz n the Hood.)
.
of “the outsider” are constructed, with particular reference to the films of Akira Kurosawa and their Western remakes
.
At HL these two films could be studied in addition to Yojimbo and A Fistful of Dollars.
At HL these two films could be studied in addition to Battleship Potemkin and Fires Were Started.
.
At HL these two films could be studied in addition to King Kong and Gojira (Godzilla).
Grade Level Descriptor Rubric
=
=
Section 2
External Assessment details:
Presentation (Part 2 of the External Assessment)
Weighting: 25%Presentation: In this component, the student is required to make an oral presentation to the teacher of an analysis of an extract lasting no more than five minutes from a prescribed film. The list of films prescribed by the IB is published each year in the November edition of the Diploma Programme coordinator notes, and can also be found on the OCC. It is not carried over from year to year.
Teachers choose three films from the prescribed list. These films must not be studied in class. Should any of the films on the list have already been studied in class when the list is published, these films must not be chosen by the teacher for any of the presentations.
Students should be provided with the names of the three chosen films four weeks in advance of the presentation. They will select one film from the three and prepare their presentation within this four-week period.
The aim of the presentation is to encourage a close textual analysis of a continuous extract, relating its features to the film as a whole and to the wider sociocultural context. Students must present a clear understanding of how meaning is constructed through the use of film language. Students may prepare and take notes into the assessment, but they should not read from a prepared document and any notes should be used for reference and guidance only. It is the teacher’s responsibility to ensure that students do not read out their presentation.
Students should select an extract lasting no more than five minutes from their chosen film and offer a detailed textual analysis of the extract, placing it in the context of the film as a whole and in a broader sociocultural context, as appropriate. Students should include reasons for choosing the particular extract. Shot-by-shot analysis may form part of the presentation, but this should not be used as a substitute for observations that are drawn together from different parts of the chosen extract.
Any sources consulted during the preparation of the presentation must be acknowledged on the coversheet.
The following must be adhered to in preparing and submitting presentation work.
Teacher guidance
Students must prepare for this assessment alone and without teacher assistance. Assistance must only be provided in the form of preparing students throughout the course for this type of activity, but not for the final activity itself on which they will be assessed. No discussion of the film should be entered into.During the presentation, the teacher should not interrupt. The teacher may only remind the student of time left and ask whether they have anything further to say but they must not make reference to specifics or ask leading questions. Students should use as much of the time available as possible. Presentations that are significantly shorter than 10 minutes may be awarded a mark that does not represent the student’s full potential.
Retake students
Should a student wish to retake this examination in a subsequent session, the same film may not be used for study.External Markbands HL
Presentation
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no awareness of the film’s genre and/or its place in a broader sociocultural context. There is little or no analysis of the director’s intention. No reference is made to the responses to the film from audiences and reviewers, critics or scholars at the time of its original release and/or subsequently. This presentation is likely to be exclusively descriptive.
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.
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a good awareness of the film’s genre and/or its place in a broader sociocultural context. There is a sound analysis of the director’s intention. Clear reference is made to the responses from audiences and reviewers, critics or scholars at the time of its original release and/or subsequently. There may be brief elements of description but analysis is thorough.
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Internal assessment details—HL
Production portfolio
Weighting: 50%The Production Portfolio component consists of a student’s completed film project and its accompanying documentation. Students submit a single production piece.
At HL, film projects must be no longer than seven minutes and no shorter than six minutes, including titles. The associated trailer must be 40–60 seconds in length.
It is important to note that each HL student must produce their own trailer, working alone and not in collaboration with others, even if they have worked with others in the production of the film.
Completed film project
Each project may be the work of an individual or of a group of students. Group size must not exceed four.However, this restriction applies only to the number of students who will be assessed on their work in the project. There may be any number of performers or assistants involved in a project.
Although other functions (such as musical composition, costume design and acting) are integral to many kinds of film-making, they are more appropriately assessed in other Diploma Programme courses and therefore will not be considered suitable for film. A student may undertake more than one role in a production, and some roles may be carried out by more than one student. Nonetheless, for the purposes of assessment each student must identify their principal role to the examiner on the coversheet provided and this is the role on which they will be assessed. Two students from the same group cannot choose to be assessed in the same principal role. It is essential that teachers assess each student’s individual contribution to the finished products.
Film projects must be no longer than seven minutes and no shorter than six minutes at HL, including titles. Material can be created and edited using any available technology, but must be submitted in DVD format. Viewing copies for submission to moderation need to be in one of the approved standard formats notified to schools. Each school must choose only one such format and will be required to identify this when registering students for examinations. Every film should be preceded by a production slate (a black screen with white lettering) stating the student’s name and candidate session number, the school name and school code, the title of the film, and the student’s designated role.
The content of students’ project work must be guided by the following considerations:
Documentation
Each film project must be accompanied by:The rationale is required so that the moderator will know the intentions of the project.
The individual written commentary should be the student’s own unaided work. It should give a concise, reflective account of all stages of the production process, and should also include an evaluation of the completed project as a whole. Any special circumstances surrounding the production process should be mentioned, and any outside help received (for example, technical support) must be acknowledged. Where appropriate, students must incorporate sample production materials (for example, frames from storyboards, schedules, floor plans) into their commentary. However, such materials should not stand apart from the commentary or form an appendix.
The portfolio as a whole must reflect a clear understanding of how meaning is constructed through the appropriate use of film language.
Teachers will be asked to authenticate the production portfolios and give brief comments on each production to assist moderation. The coversheet for the portfolio must include details of the principal production role-played by the student in each project.
Copyright statement—important
Student work must not contain any third party copyright material.
The intention of the film course is that students, especially in the production portfolio component, will be the original creators of, or have a significant role in the creation of, any audio or visual material that they use in their work. Audio work may involve collaboration with local musicians or other students to help create original material for a soundtrack as part of a creative dialogue rather than merely “finding” a piece that would fit. Copyright-free software may also be used as appropriate.
Even if copyright material is legally obtained, this is a violation of the course’s intended outcomes.
Internal assessment criteria (how you will be graded)—HL
Production portfolio
A Planning and research: 10%
This criterion is concerned with the documentation of the production process as a whole, from preliminary planning, pre-production, production and principal photography, through to post-production, including the planning and research required for the production of the film trailer..
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B Reflection and evaluation 10%
This criterion is concerned with artistic and logistical analysis of the relevant production processes and the evaluation in the individual student’s written commentary on the project as a whole, including the roles of the student and others (where appropriate).C Professional and technical skills 10%
This criterion is concerned with professional and technical skills (including organizational skills) that may be demonstrated during the production processes or in the finished product itself.skills (including organizational skills) necessary for one principal production role, and makes limited use of available resources and technology. Little use is made of available resources and technology in the construction of the individual film trailer.
D Effective use of film language 10%
This criterion is concerned with evidence of the student’s effective use of film language, as seen in the finished product.Internal assessment
E Originality and creativity 10%
This criterion is concerned with originality and creativity in the film-making process (referred to as “creative intelligence” in the level descriptors below). This may be demonstrated by freshness of approach, by intelligent work that goes either with or against the conventions of the genre, or by problem solving. Another key indicator is the level of audience engagement with the work.This criterion is intended to provide a holistic assessment of each student’s contribution to the finished film and of the trailer that they have made as an individual.